Much Ado About Nothing
by William Shakespeare
He backs him up without poise
Chicago Reader
deft command of classical rhetoric destined for recognition beyond the storefront circuit
a must-see production if you crave conversation material for erudite social circles
Christopher Prentice as Beatrice gives the best performance of the production.
Christopher Prentice’s Marlow is worth the price of admission
Credit rests with Christopher Prentice whose agile, uncontrived performance as the gallant outlaw reflects a striking command of Shakespeare’s language
Christopher Prentice captures the madness and the desperate hope of the wait for Godot in each, cleanly articulated movement and line.
Christopher Prentice and Shannon E. Farmer bring strong presence to Booth and Guiteau.
a bright spot, along with Christopher Prentice’s wily Mercutio
Prentice] is an actor of immense versatility and presence.
and she is well matched by the dashing Christopher Prentice, as bright and hilarious a couple of foolish young lovers as you could want
Prentice doesn’t play at being a woman. He plays the woman, exploring her emotions and intelligence brilliantly.
brilliant and seemingly fearless
impressive … engrossing, cliché-free performance
Christopher Prentice is wonderfully understated
As the show’s primary devil, Christopher Prentice makes a charming John Wilkes Booth.
- Much Ado About Nothing
- By William Shakespeare
- Directed by Ronan Marra
- With Melanie Keller, Christopher Prentice, Joseph Stearns, Vincent L. Lonergan, Meredith Bell, Aaron Snook, Brandon Bruce, Charles Schoenherr
- Signal Ensemble Theatre
- 2003
Love is in the air! And that means warring wits, waggling tongues, big laughs and flowing tears.
Don Pedro and his men return from war looking for a little fun in the sun, and everyone’s involved: the younger ones fall instantly in love and the older ones try desperately to stay out of it. All the passion, all the intrigue, all the deception, trickery, and most of all: romance!
Cast
- Meredith Bell
- Hero
- Brandon Bruce
- Dogberry
- Melanie Keller
- Beatrice
- Vincent L. Lonergan
- Leonato
- Christopher Prentice
- Benedick
- Aaron Snook
- Claudio
- Joseph Stearns
- Don Pedro
- Tiffany Carter
- Margaret
- Christopher Clementson
- Conrade
- Jennifer Faletto
- Hugh Oatcake
- Len Hoover
- Francis Seacole
- Ronald Kuzava
- Verges
- Dave Lykins
- Antonio
- Erin Myers
- Ursula
- Eric Paskey
- Balthasar
- Michael E. Smith
- Borachio
- Bob Wilson
- Friar Francis/Sexton
- Shawn Yardley
- Ursula
Creative
- Ronan Marra
- Director
- Nancy Freeman
- Scenic Design
- Laura M. Dana
- Costume Design
- Whitney Buchman
- Lighting Design
- Jeremy Dobbins
- Sound Designer/Production Stage Manager
- Joseph Stearns
- Original Music
- Dorrie Ferguson
- Choreographer
- Lara Maerz
- Props
- Anthony Ingram
- Stage Manager
Aaron Snook brings some desperately needed charm to the hotheaded Claudio, Joseph Stearns and Christopher Prentice back him up with wit and poise, and Melanie Keller’s excellent Beatrice evokes Rosalind Russell. As usual, though, the clowns—Brandon Bruce and Ronald Kuzava—steal the show.
